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Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
|Greatest Story Ever Told|
|Beat It On Down The Line|
|They Love Each Other|
|Me And My Uncle ->|
|Brown Eyed Women ->|
|Let It Grow|
|Scarlet Begonias ->|
|Fire On The Mountain|
|Playing In The Band ->|
|The Wheel ->|
|The Other One ->|
|Black Peter ->|
Bill Koucky contacted me and wanted me to try and matrix this sick but
relatively unknown show because neither source really did it justice. I
said I'd give a whirl and sure enough the mix turned out to be a big
improvement. The Oakland Auditorium Arena later became the Henry J. Kaiser
Convention Center so this nice FOB sounds great when coupled with a so-so
SBD which needed much digi snit removal (thanks Chris Ladner) which I used
for set 1 - the second set I used was the Clugston source but there is
nothing in the db, so it is unclear if Scott remastered the problematic
Bruce Fried source or got it somewhere else. Bill K's 1st gen FOB from
Steve Aldeman that he duped 23 years ago serves as an excellent AUD source.
The first set is on fire with Garcia constantly trying to slow things
down in his song selection (Birdsong as the 3rd tune?!! and TLEO is quite
spirited) but he finally gives and cranks out a ripping Brown-Eyed so Weir
can stretch out on a monster Let It Grow. Second set opening with Scarlet >
Fire is big and groovy, and the Playin' that follows has Jerry referencing
the Woody Woodpecker theme (4:57). The whole show is played well, no big
surprises, just good ole Grateful Dead.
On the FOH side of things Healy seemed to be playing with a short delay
effect (15ms or so) for most of the first set on both Garcia's guitar
and all the vocals. It is very noticeable in spots, especially on Garcia's
solo in Bertha and the vocals in BIODTL. The result is a flange effect
which some might misconstrue as bad synching, but let it be known this is
how it sounded in both sources and is not the result of the matrix.
Thanks to Steve Aldeman for recording the AUD, and to Bill Koucky and
Chris Ladner for transfering, encoding and remastering both SBDs and the
AUD source. Thanks to Scott Clugston for the mystery SBD II source, and
to Dr. Bruce Fried for the SBD I source.
Special thanks to Bill Koucky for motivating me to matrix this wonderful
yet obscure show (even the LlaMA doesn't have anything for this date).
Set 1: Both sources were not very close in pitch. The SBD had to be
pitched down between 53 and 59 cents, while the AUD had to be pitched down only
Set 2: The SBD was relatively close in pitch so I left it as is and
pitched the AUd down about 50 cents.
Because of the speed fluctuation within a given source, multiple edits
were performed to keep the sources synched. Since the AUD was my
master pitch and time ref, the SBD was synched to the AUD (too many
edits to list).
- Sonic Quality/Matrix ratio
No EQ was applied to either of the two sources. I applied very sparingly
Waves L2 (limiter) to the master 2 buss to keep things contained, the
levels rarely hitting zero, thus the limiting is quite scarce. All I was
trying to do here is to add some dimension to the SBD by using the
ambience of the AUD. The result is a lively but clear recording, hopefully
close to how it sounded at the show. If I had to guess the SBD/AUD ratio
would be somewhere between 2.5:1 and 2:1.
The following are places where the SBD and AUD had splices, holes or
incomplete coverage in reference to the final matrix timeline.
d1t01 (0:00 - 0:14) - missing (tuning)
d1t01 (0:14 - 1:11) - multiple volume moves to smooth out levels
d1t01 (1:39) - feedback - minimized on both sources